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John Andrew & Son photogravures of Edward S. Curtis portraits of Plains Indians

Photographer:
Curtis, Edward S., 1868-1952  Search this
Names:
John Andrew & Son, printer  Search this
American Horse, 1840-1908  Search this
Extent:
3 Prints (photogravure)
Culture:
Indians of North America -- Great Plains  Search this
Brulé Indians  Search this
Oglala Indians  Search this
Gros Ventre Indians (Montana)  Search this
Assiniboine Indians  Search this
Type:
Collection descriptions
Archival materials
Prints
Photogravures
Photographs
Date:
circa 1908
Scope and Contents note:
Photogravures made from Edward S. Curtis portraits of American Horse, Oglala Indian; Hollow Horn Bear, Brule Indian; and an Assiniboine/Gros Ventre man. Curtis copyrighted the original photographs in 1907 and 1908.
Biographical/Historical note:
Edward Sheriff Curtis (1868-1952) was a professional photographer known for his images of Native Americans and of the American West. Born in Wisconsin, Curtis moved with his family to Cordova, Minnesota, shortly after his brother's birth in 1874. In 1887, Curtis moved again with his father to Seattle in the Washington Territory, where he built partnerships with several area photographers. Around 1895 Curtis began to photograph American Indians in the Seattle area. He joined the 1899 Harriman Expedition to Alaska as the expedition's official photographer and spent the summer of 1900 with George Bird Grinnell on a trip to document the Sun Dance on the Piegan Reservation in Montana. These experiences fueled Curtis' interest in American Indians and their culture and he set out to document every North American tribe before they "vanished." These photographs became the basis for his twenty volume "The North American Indian," a set of books which combined ethnographic descriptions and high-quality photogravures.
Local Call Number(s):
NAA Photo Lot 84-8
Location of Other Archival Materials:
Additional Curtis photographs held in National Anthropological Archives Photo Lot 24, Photo Lot 59, Photo Lot 90-1, Photo Lot 96-17, and the BAE historical negatives.
The National Anthropological Archives also holds the Edward S. Curtis investigation of the Battle of Little Bighorn (MS 2000-18).
Curtis photographs also held in the National Museum of the American Indian Archives in the Edward S. Curtis photogravure plates and proofs for The North American Indian and Mary Harriman Rumsey collection of Harriman Alaska Expedition photographs.
Related Archival Materials note:
Curtis, Edward S., 1868-1952 Assiniboin boy - Atsina 1907 AAH4494NA (GEAC)00096320
Restrictions:
The collection is open for research.

Access to the collection requires an appointment.
Rights:
Contact the repository for terms of use.
Genre/Form:
Photogravures
Photographs
Citation:
Photo lot 84-8, John Andrew & Son photogravures of Edward S. Curtis portraits of Plains Indians, National Anthropological Archives, Smithsonian Institution
Identifier:
NAA.PhotoLot.84-8
Archival Repository:
National Anthropological Archives
EDAN-URL:
ead_collection:sova-naa-photolot-84-8

George V. Allen photograph collection of American Indians and the American frontier

Collector:
Allen, George V.  Search this
Names:
Albuquerque Indian School  Search this
Castillo de San Marcos (Saint Augustine, Fla.)  Search this
Chilocco Indian School  Search this
Geological Survey (U.S.)  Search this
Haskell Indian Nations University  Search this
United States Indian School (Carlisle, Pa.)  Search this
Yankton Mission (Yankton Indian Reservation, S.D.)  Search this
American Horse, 1840-1908  Search this
Big Bow Chief  Search this
Bogy, Lewis V. (Lewis Vital), 1813-1877  Search this
Cushing, Frank Hamilton, 1857-1900  Search this
Harding, Warren G. (Warren Gamaliel), 1865-1923  Search this
Hough, Walter, 1859-1935  Search this
Iron Bull (Crow Indian chief)  Search this
Kelly, Luther S. (Luther Sage), 1849-1928  Search this
Mató-Tópe, Mandan chief, d. 1837  Search this
Mix, Charles E.  Search this
Monroe, Mark, 1930-  Search this
Moran, John, 1831-1903  Search this
Ouray  Search this
Red Cloud, 1822-1909  Search this
Red Dog (Oglala chief)  Search this
Red Shirt, 1845?-1925  Search this
Reilly, John James, 1838-1894  Search this
Reynolds, Joseph Jones, 1822-1899  Search this
Sitting Bull, 1831-1890  Search this
Spotted Tail, 1823-1881  Search this
Stevenson, Matilda Coxe, 1850-1915  Search this
Two Guns White Calf Blackfoot  Search this
Photographer:
Alvord, Kellogg, & Campbell  Search this
Bailey & Whitesides  Search this
Bailey, Dix, & Mead  Search this
Bennett & Brown  Search this
Black Hills View Company  Search this
Brooks Photo  Search this
Brubaker and Whitesides  Search this
C. Duhem & Bro.  Search this
Calfee & Catlin  Search this
Caswell & Davy  Search this
Copelin & Son  Search this
Cosand & Mosser  Search this
Cunningham & Co. (1880-1889)  Search this
D.D. Merrill, Randall & Co.  Search this
E. & H.T. Anthony (Firm)  Search this
Eaton, of Ralston, Oklahoma  Search this
Griffith & Griffith  Search this
Gurnsey & Illingworth  Search this
Hamilton and Hoyt  Search this
Hamilton and Kodylek  Search this
Hansard & Carden  Search this
Henry L. Shepard & Co.  Search this
Ingersoll View Company  Search this
J.J. Reilly & Co.  Search this
Judd and McLeish  Search this
Keystone View Company  Search this
Kilburn Brothers  Search this
Lawrence & Houseworth  Search this
M.S. Mepham & Bro.  Search this
Martin's Gallery  Search this
Montgomery Ward.  Search this
Ramsour & Pennel  Search this
Reed & McKenney  Search this
Rodocker & Blanchard  Search this
Savage & Ottinger  Search this
Thomas Houseworth & Co.  Search this
Underwood & Underwood  Search this
Universal Photo Art Co.  Search this
Whitney & Zimmerman  Search this
Wittick & Bliss  Search this
Wittick & Russell  Search this
Young & Chase  Search this
Barker, George, 1844-1894  Search this
Barry, D. F. (David Francis), 1854-1934  Search this
Batchelder, B. P. (Benjamin Pierce), 1826-1891  Search this
Bates, Edw. (Edward)  Search this
Beaman, Edward O.  Search this
Bell, C. M. (Charles Milton), approximately 1849-1893  Search this
Bell, William, 1830-1910  Search this
Benecke, Robert  Search this
Bennett, H. H. (Henry Hamilton), 1843-1908  Search this
Bierstadt, Charles, 1819-1903  Search this
Blessing, S. T.  Search this
Blosser, J. A.  Search this
Bonine, Elias A., 1843-1916  Search this
Brockham, William (of Morris, Minnesota)  Search this
Brown, William Henry, 1844-1886  Search this
Brubaker, C. B.  Search this
Buehman, Henry, 1851-1912  Search this
Calfee, H. B. (Henry Bird), 1848-1912  Search this
Carbutt, John, 1832-1905  Search this
Carter, C. W., 1832-1918  Search this
Chamberlain, W. G. (William Gunnison)  Search this
Chase, D. B. (Dana B.)  Search this
Childs, B. F. (Brainard F.), ca. 1841-1921  Search this
Choate, J. N. (John N.), 1848-1902  Search this
Clark, George A. (George Alfred), 1936-  Search this
Climo, John Saunders  Search this
Cobb, William Henry, 1859-1909  Search this
Conklin, E (Enoch)  Search this
Cozzens, Samuel Woodworth, 1834-1878  Search this
Croft, Thomas  Search this
Cross, W. R. (William R.)  Search this
Currier, Frank, fl. 1890-1909  Search this
Curtis, Edward S., 1868-1952  Search this
Curtis, George E., 1830-1910  Search this
Cushing, W. H., fl. 1870-1889  Search this
Davis, S., fl. 1860-1880  Search this
Doremus, John P., 1827-1890  Search this
Eaton, E. L. (Edric L.), b. ca. 1836  Search this
Ebell, Adrian J. (Adrian John), 1840-1877  Search this
Eisenmann, Charles, b. 1850  Search this
Flanders, Dudley P.  Search this
Forsyth, N. A. (Norman A.), 1869-1949  Search this
Fouch, John H., 1849-1933  Search this
Gardner, Alexander, 1821-1882  Search this
Godkin, William R.  Search this
Goodell, Abner Cheney, 1831-1914  Search this
Graves, C. H. (Carleton H.), d. 1943  Search this
Gurnsey, B. H. (Byron H.), 1833-1880  Search this
Hamilton, J. H. (James H.)  Search this
Hart, Alfred A., 1816-1908  Search this
Hawkins, B.A.  Search this
Haynes, F. Jay (Frank Jay), 1853-1921  Search this
Hazeltine, M. M. (Martin Mason), 1827-1903  Search this
Heister, H. T., (Henry T.), -1895  Search this
Heller, Louis Herman, ca. 1839-1929  Search this
Heston, Wat  Search this
Hillers, John K., 1843-1925  Search this
Hook, W. E. (William Edward), 1833-1908  Search this
Huffman, L. A. (Laton Alton), 1854-1931  Search this
Illingworth, W. H. (William H.), 1842-1893  Search this
Immke, Henry W.  Search this
Ingalls, George W., 1838-1920  Search this
Jackson, William Henry, 1843-1942  Search this
Jacoby, W. H. (William H.), 1841-1905  Search this
Jarvis, J. F. (John F.), b. 1850  Search this
Johnson, W.S.  Search this
Kirkland, Geo. W. (George W.)  Search this
Knight, J. Lee  Search this
Landon, S. C. (Seth C.), b. 1825  Search this
Leonard & Martin  Search this
Line, A. A.  Search this
Little, H.N.  Search this
Marshall, William I. (William Isaac), 1840-1906  Search this
Martin, Alex (Alexander), 1841-1929  Search this
Maude, F. H. (Frederic Hamer)  Search this
Maynard, Hannah, 1834-1918  Search this
Maynard, Richard, 1832-1907  Search this
McIntyre, A. C. (Alexander Carson)  Search this
Meddaugh, J. E.  Search this
Mellen, Geo. E. (George Egbert), b. 1854  Search this
Mepham, Michael S.  Search this
Mitchell, Daniel S.  Search this
Morrow, Stanley J.  Search this
Muybridge, Eadweard, 1830-1904  Search this
Newcomb, C. H.  Search this
Nims, F.A.  Search this
O'Sullivan, Timothy H., 1840-1882  Search this
Palmer, A. A.  Search this
Parker, Joseph C.  Search this
Pierron, Geo. (George), b. 1816  Search this
Pollock, Charles, 1832-1910  Search this
Powers, F. F.  Search this
Raitt, T.G.  Search this
Randall, A. F. (A. Frank)  Search this
Rau, William Herman, 1855-1920  Search this
Rinehart, F. A. (Frank A.)  Search this
Rodocker, D. (David)  Search this
Rothrock, George H.  Search this
Rudy, W. Ira  Search this
Russell, Andrew J.  Search this
Rutter, Thomas H., 1837-1925  Search this
Savage, C. R. (Charles Roscoe), 1832-1909  Search this
Seaver, C. (Charles)  Search this
Sedgwick, S. J. (Stephen James)  Search this
Shipler, James William, 1849-1937  Search this
Soule, John P.  Search this
Stoddard, Seneca Ray, 1844-1917  Search this
Taber, I. W. (Isaiah West), 1830-1912  Search this
Thorne, G.W.  Search this
Thurlow, J., 1831-1878  Search this
Towne, Bertram C.  Search this
Trager, George E.  Search this
Upton, B. F. (Benjamin Franklin)  Search this
Watkins, Carleton E., 1829-1916  Search this
Weitfle, Charles, 1836-1921  Search this
Wendt, Julius M.  Search this
Whitney, Joel E. (Joel Emmons), 1822-1886  Search this
Williscraft, W.H.  Search this
Wittick, Ben, 1845-1903  Search this
Woodburn, J. R.  Search this
Zimmerman, Charles A., 1844-1909  Search this
Publisher:
Beal's Gallery  Search this
Continent Stereoscopic Company  Search this
Florida Club (Cooperative)  Search this
Union View Company  Search this
Webster & Albee  Search this
Smith, O. C.  Search this
Extent:
67 lantern slides
26 Negatives (glass)
10 Negatives (nitrate)
6 autochromes (photographs)
50 Stereographs (circa 50 printed stereographs, halftone and color halftone)
1,000 Stereographs (circa, albumen and silver gelatin (some tinted))
239 Prints (circa 239 mounted and unmounted prints, albumen (including cartes de visite, imperial cards, cabinet cards, and one tinted print) and silver gelatin (some modern copies))
96 Prints (Album :, silver gelatin)
21 Postcards (silver gelatin, collotype, color halftone, and halftone)
Culture:
Puyallup Indians  Search this
Diegueño Indians  Search this
Ojibwa Indians  Search this
Tohono O'Odham Indians  Search this
Kalispel Indians  Search this
Indians of North America -- California  Search this
Taos Indians  Search this
Nootka Indians  Search this
Kickapoo Indians  Search this
Laguna Indians  Search this
Pueblo Indians  Search this
Winnebago Indians  Search this
Havasupai Indians  Search this
Assiniboine Indians  Search this
Isleta Indians  Search this
Mohave Indians  Search this
Miwok Indians  Search this
Kwakiutl Indians  Search this
Arctic peoples  Search this
Pima Indians  Search this
Maricopa Indians  Search this
Iroquois Indians  Search this
Hopi Indians  Search this
Modoc Indians  Search this
Zuni Indians  Search this
Nez Percé Indians  Search this
Washo Indians  Search this
Gros Ventre Indians (Montana)  Search this
Tonkawa Indians  Search this
Navajo Indians  Search this
Yavapai Indians  Search this
Ute Indians  Search this
Sauk Indians  Search this
Pawnee Indians  Search this
Indians of North America -- Great Plains  Search this
Bannock Indians  Search this
Shoshoni Indians  Search this
Cochiti Indians  Search this
Omaha Indians  Search this
Indians of North America -- Southwest, New  Search this
Indians of North America -- Great Basin  Search this
Indians of North America -- Northwest Coast of North America  Search this
Choctaw Indians  Search this
Dakota Indians  Search this
Eskimos  Search this
Salish Indians  Search this
Indians of North America -- Plateau  Search this
Cheyenne Indians  Search this
Mandan Indians  Search this
Arikara Indians  Search this
Tlingit Indians  Search this
Indians of North America -- Northeast  Search this
Haida Indians  Search this
Cree Indians  Search this
Crow Indians  Search this
Acoma Indians  Search this
Quapaw Indians  Search this
Osage Indians  Search this
Apache Indians  Search this
Kansa Indians  Search this
Umatilla Indians  Search this
Shawnee Indians  Search this
Fox Indians  Search this
Pomo Indians  Search this
Indians of North America -- Southern States  Search this
Indians of North America -- Subarctic  Search this
Paiute Indians  Search this
Seminole Indians  Search this
Micmac Indians  Search this
Comanche Indians  Search this
Potawatomi Indians  Search this
Type:
Collection descriptions
Archival materials
Lantern slides
Negatives
Autochromes (photographs)
Stereographs
Prints
Postcards
Place:
Custer Battlefield (Montana)
Date:
circa 1860-1935
Scope and Contents note:
Photographs relating to American Indian or frontier themes, including portraits, expedition photographs, landscapes, and other images of dwellings, transportation, totem poles, ceremonies, infants and children in cradleboards, camps and towns, hunting and fishing, wild west shows, food preparation, funeral customs, the US Army and army posts, cliff dwellings, and grave mounds and excavations. The collection also includes images of prisoners at Fort Marion in 1875, Sioux Indians involved in the Great Sioux Uprising in Minnesota, the Fort Laramie Peace Commission of 1868, Sitting Bull and his followers after the Battle of the Little Bighorn, and the aftermath of the Wounded Knee Massacre in 1890.

There are studio portraits of well-known Indians, including American Horse, Big Bow, Four Bears, Iron Bull, Ouray, Red Cloud, Red Dog, Red Shirt, Sitting Bull, Spotted Tail, Three Bears, and Two Guns White Calf. Depicted delegations include a Sauk and Fox meeting in Washington, DC, with Lewis V. Bogy and Charles E. Mix in 1867; Kiowas and Cheyennes at the White House in 1863; and Dakotas and Crows who visited President Warren G. Harding in 1921. Images of schools show Worcester Academy in Vinita, Oklahoma; Chilocco Indian School; Carlisle Indian Industrial School; Haskell Instittue, and Albuquerque Indian School.

Some photographs relate to the Centennial Exposition in Philadelphia, 1876; World's Columbian Exposition in Chicago, 1893; Louisiana Purchase Exposition in St. Louis, 1903; and Centennial Exposition of the Baltimore and Ohio Railraod, 1876. Expedition photographs show the Crook expedition of 1876, the Sanderson expedition to the Custer Battlefield in 1877, the Wheeler Survey of the 1870s, Powell's surveys of the Rocky Mountain region during the 1860s and 1870s, and the Hayden Surveys.

Outstanding single views include the party of Zuni Indians led to the sea by Frank Hamilton Cushing; Episcopal Church Rectory and School Building, Yankton Agency; Matilda Coxe Stevenson and a companion taking a photographs of a Zuni ceremony; John Moran sketching at Acoma; Ben H. Gurnsey's studio with Indian patrons; Quapaw Mission; baptism of a group of Paiutes at Coeur d'Alene Mission; court-martial commission involved in the trial of Colonel Joseph J. Reynolds, 1877; President Harding at Sitka, Alaska; Walter Hough at Hopi in 1902; and Mrs. Jesse Walter Fewkes at Hopi in 1897.
Biographical/Historical note:
George V. Allen was an attorney in Lawrence, Kansas and an early member of the National Stereoscope Association. Between the 1950s and 1980s, Allen collected an extensive collection of photographs of the American West, mostly in stereographs, but also including cartes-de-visite and other styles of mounted prints, photogravures, lantern slides, autochromes, and glass negatives.
Local Call Number(s):
NAA Photo Lot 90-1
See others in:
George V. Allen photograph collection of American Indians and the American frontier, circa 1860-1935
Restrictions:
The collection is open for research.

Access to the collection requires an appointment.
Rights:
Contact the repository for terms of use.
Topic:
Camps  Search this
Child care  Search this
Rites and ceremonies  Search this
Totem poles  Search this
Cookery  Search this
Wild west shows  Search this
Fishing  Search this
Hunting  Search this
Transportation  Search this
Dwellings  Search this
Funeral rites and ceremonies  Search this
Wounded Knee Massacre, S.D., 1890  Search this
Citation:
Photo Lot 90-1, George V. Allen photograph collection of American Indians and the American frontier, National Anthropological Archives, Smithsonian Institution
Identifier:
NAA.PhotoLot.90-1
Archival Repository:
National Anthropological Archives
EDAN-URL:
ead_collection:sova-naa-photolot-90-1

MS 4444 Blackfoot picture writings translated by Richard Sanderville

Translator:
Bull Head, (Blackfeet chief)  Search this
Transcriber:
Carter, John Galen, 1891-1941  Search this
Creator:
Roman Nose, (Lakota chief)  Search this
Cloud Shield  Search this
American Horse, 1840-1908  Search this
Names:
Sitting Bull, 1831-1890  Search this
Extent:
32 Pages
7 Photographs
Culture:
Dakota -- Teton  Search this
Indians of North America -- Great Plains  Search this
Teton Indians  Search this
Type:
Collection descriptions
Archival materials
Pages
Photographs
Pictographs
Date:
June 13-18, 1934
Scope and Contents:
Dictated by Sanderville; written down by John G. Carter. Contents: Sitting Bull's Autobiographies (Dakota Number 1929); Wind River petroglyphs (Bureau of American Ethnology-AR 10, Figure 97); Madison River grave writings (Negative Numbers 215-b, 1-26); Roman Nose drawings (Dakota, Number 31303); Cloud Shield and American Horse winter counts (Dakota, Number 3203); petroglyphs in Black Hills (photographs with this manuscript).
Local Numbers:
NAA MS 4444
Local Note:
Typescript and manuscript document
Topic:
Winter counts -- Dakota  Search this
Sioux  Search this
Genre/Form:
Pictographs -- Dakota
Photographs
Citation:
Manuscript 4444, National Anthropological Archives, Smithsonian Institution
Identifier:
NAA.MS4444
Archival Repository:
National Anthropological Archives
EDAN-URL:
ead_collection:sova-naa-ms4444
Online Media:

Four drawings by anonymous Cheyenne artist

Collector:
Bourke, John Gregory, 1846-1896  Search this
Extent:
4 Drawings (2 leaves, graphite and colored pencil, 16 x 24 cm.-16 x 29 cm.)
Culture:
Cheyenne Indians  Search this
Indians of North America -- Great Plains  Search this
Type:
Collection descriptions
Archival materials
Drawings
Ledger drawings
Date:
before 1876
Scope and Contents:
Four drawings of warfare on two loose pages torn from a ledger book. Other drawings from the same ledger were pasted into the donor's diary, which is now in the Special Collections Library at the US Military Academy at West Point. Bourke records there that the book was captured in June 1876 from a camp then believed to be Sioux. This encounter is now known as the Battle of the Rosebud, and the camp identified as Northern Cheyenne, not Sioux.
Biographical / Historical:
Col. John Gregory Bourke (1846-1896), a graduate of West Point, spent most of his military career in the Northern Plains under Brigadier General George Crook. After serving in these campaigns from 1869-1888, Bourke was given some time off from his military duties to study Indian people where he compiled ethnological accounts of the Apache and several other tribes in the Southwest. For more information on Bourke, see "John Gregory Bourke, Victorian Soldier-Scientist, the Western Apprenticeship, 1869-1886" by Joseph Charles Porter, PhD dissertation, University of Texas, Austin.
Local Numbers:
NAA MS 176,622
Local Note:
Catalog number 176,622-E was identified by Mrs. Karen D. Peterson as a drawing by Cheyenne artist Howling Wolf; and was exchanged with Mrs. A.B. Richardson (who owned the notebook to which this sketch belonged) through the Joslyn Art Museum, Omaha, Nebraska, September 28, 1966, for a drawing by Yellow Nose (USNM catalog Number 409,978). Catalog Numbers 176,622-F,-G are Numbers designated by R. Elder to cover two of the "seven pictographs" called for in the accession papers, when this set of drawings was separated and individually catalogued (1966); these last two drawings have not been located (1969).
Album Information:
MS 176622 000
Provenance:
Bourke, John G. Capt
Genre/Form:
Ledger drawings
Citation:
Manuscript 176,622, National Anthropological Archives, Smithsonian Institution
Identifier:
NAA.MS176622
See more items in:
Four drawings by anonymous Cheyenne artist
Archival Repository:
National Anthropological Archives
EDAN-URL:
ead_collection:sova-naa-ms176622
Online Media:

D.S. Mitchell Photographs

Photographer:
Mitchell, Daniel S.  Search this
Howard  Search this
Names:
6 Feather  Search this
American Horse, 1840-1908  Search this
Black Bear, Dakota  Search this
Chief Black Coal (Arapaho)  Search this
Feather Head  Search this
Friday (Arapaho Indian)  Search this
He Dog  Search this
Little Big Man.  Search this
Little Wolf  Search this
Little Wound  Search this
Long Bull  Search this
Money  Search this
Pawnee Killer  Search this
Red Cloud, DakotaOglala  Search this
Red Dog (Oglala chief)  Search this
Red Shirt, Dakota  Search this
Rockey Bear  Search this
Sharp Nose  Search this
Slow Bull, Dakota  Search this
Stands First  Search this
The one that Sleeps  Search this
Three Bears  Search this
Walking Cane  Search this
Washington Enlisted Man  Search this
White Bird, Dakota  Search this
White Horse  Search this
Yellow Bear  Search this
Young Man Afraid Of His Horses, Dakota  Search this
Extent:
31 Prints
Culture:
Cheyenne Indians  Search this
Dakota Indians -- (identification uncertain)  Search this
Dakota -- Oglala  Search this
Shoshoni Indians  Search this
Arapaho Indians  Search this
Indians of North America -- Great Basin  Search this
Indians of North America -- Great Plains  Search this
Oglala Indians  Search this
Type:
Collection descriptions
Archival materials
Prints
Date:
ca. 1860's
Scope and Contents:
Relate to Arapaho(s), Dakota (some Oglala) and probably Dakota Indians (25), most on mount of D. S. Mitchell, Eddy Street, Cheyenne, Wyoming, others on unprinted mounts; and 1 Shoshoni photograph on mount of Howard, Fort San[ders ?], Wyoming Territory. All on carte de visite style mounts.
Catalog Number 4754: (1) Tribe: Arapaho Description: "Sharp Nose" Photographer: D. S. Mitchell, Eddy Street, Cheyenne, Wyoming Negative Number 55,703. (2) Arapaho "White Horse" D. S. Mitchell, Eddy Street, Cheyenne, Wyoming Negative Number 132-c. (3) Arapaho "Friday" D. S. Mitchell, Eddy Street, Cheyenne, Wyoming Negative Number 55,704. (4) Arapaho "Black Coal" D. S. Mitchell, Eddy Street, Cheyenne, Wyoming Negative Number 55,705. (5) Cheyenne "Little Wolf" D. S. Mitchell, Eddy Street, Cheyenne, Wyoming Negative Number 54,855-B. (6) Dakota (Oglala) "Red Cloud" D. S. Mitchell, Eddy Street, Cheyenne, Wyoming Negative Number 3237-d. (7) Dakota (Oglala) "American Horse" D. S. Mitchell, Eddy Street, Cheyenne, Wyoming Negative Number 3214-c. (8) Dakota (Oglala) "Little Big Man" D. S. Mitchell, Eddy Street, Cheyenne, Wyoming Negative Number 3215-b. (9) Dakota (Oglala) "Three Bears" D. S. Mitchell, Eddy Street, Cheyenne, Wyoming Negative Number 3207-b. (10) Dakota (Oglala) "He Dog" D. S. Mitchell, Eddy Street, Cheyenne, Wyoming Negative Number 3229-b. (11) Dakota (Oglala) Red Dog D. S. Mitchell, Eddy Street, Cheyenne, Wyoming Negative Number 3208-b. (12) Dakota (Oglala) "Little Wound" D. S. Mitchell, Eddy Street, Cheyenne, Wyoming Negative Number 3219-b. (13) Dakota (Oglala) "Slow Bull" D. S. Mitchell, Eddy Street, Cheyenne, Wyoming Negative Number 55,717. (14) Dakota (Oglala) Young Man Afraid of His Horses D. S. Mitchell, Eddy Street, Cheyenne , Wyoming Negative Number 55,718. (15) Dakota (Oglala) "Red Shirt" D. S. Mitchell, Eddy Street, Cheyenne, Wyoming Negative Number 55,719.
Catalog Number 4754: Tribe: (16) Dakota Description: "Rockey Bear" Photographer: D. S. Mitchell, Eddy Street, Cheyenne, Wyoming Negative Number 3711-o-1. (17) Dakota "The one that Sleeps Negative Number 3711-p. (18) Dakota "Long Bull" Negative Number 3656-c. (19) Dakota "Washington Enlisted Man" See (20), below Negative Number 3655-d. (29) Dakota "Stands First" Same individual as (19), above. Bureau of American Ethnology file print gives name as Stands First Negative Number 55,708. (20) Dakota "Pawnee Killer" D. S. Mitchell, Eddy Street, Cheyenne, Wyoming Negative Number 55,707. (21) [Dakota ?] Man wearing three-cornered hat, holding pipe D. S. Mitchell, Eddy Street, Cheyenne, Wyoming Negative Number 55,709. (22) [Dakota ?] "6 Feather" D. S. Mitchell, Eddy Street, Cheyenne, Wyoming Negative Number 55,710. (25) [Dakota ?] "Little Wolf" D. S. Mitchell, Eddy Street, Cheyenne, Wyoming Negative Number 55,713. (23) [Dakota ?] "Black Bear" D. S. Mitchell, Eddy Street, Cheyenne, Wyoming Negaive Number 55,711. (24) [Dakota ?] "White Bird" D. S. Mitchell, Eddy Street, Cheyenne, Wyoming Negative Number 55,712. (26) [Dakota ?] "Walking Cane" D. S. Mitchell, Eddy Street, Cheyenne, Wyoming Negative Number 55,714. (27) [Dakota ?] "Money" D. S. Mitchell, Eddy Street, Cheyenne, Wyoming Negative Number 55,715. (19) ? [Dakota ?] "Yellow Bear" D. S. Mitchell, Eddy Street, Cheyenne, Wyoming Negative Number 55,706. (28) [Dakota ?] "Feather Head Negative Number 55,716. Shoshoni "Shoshone Squaw" Photographer: Howard, Fort San[ders ?], Wyoming Territory Negative Number 55,720.
Local Numbers:
NAA MS 4754
Local Note:
Copy negatives are on file for all (Negatives 54,855-B and 55,703-55,720 made 2/66; others were previously on file.)
Filed: Original prints, by tribe.
Topic:
Photographs  Search this
Shoshone  Search this
Sioux  Search this
Citation:
Manuscript 4754, National Anthropological Archives, Smithsonian Institution
Identifier:
NAA.MS4754
Archival Repository:
National Anthropological Archives
EDAN-URL:
ead_collection:sova-naa-ms4754

Book of Arikara drawings by anonymous artist

Collector:
Hazen, William Babcock, 1830-1887  Search this
Extent:
32 Drawings (17 leaves, graphite and colored pencil, 11 x 19 cm.)
Culture:
Arikara Indians  Search this
Indians of North America -- Great Plains  Search this
Type:
Collection descriptions
Archival materials
Drawings
Ledger drawings
Date:
ca. 1875
Scope and Contents:
Bound volume of drawings containing pictures of individual and scenes of warfare, hunting, domestic activities, and ceremony. One of two similar handbound volumes received as part of the Hazen collection (see also MS 154064A).
Biographical / Historical:
William Babcock Hazen (1830-1887) was born in Vermont and spent his boyhood in Ohio. In 1855, he graduated from the U.S. Military Academy ranked Twenty-eight in his class. Prior to the Civil War, Hazen served with the Fourth and Eighth Infantry regiments, earning distinctions in the field while fighting against Indians in Oregon and southwestern Texas. Hazen went on to serve in the Civil War, where he fought in the Battles of Shiloh and Bentonville. After the war, he served as Inspector General of the Department of the Platte and did a tour at Fort Leavenworth, Kansas. In 1869, he was stationed at Fort Sill, Oklahoma and later at Fort Smith, Arkansas, becoming Superintendent of Indian Affairs in 1870. While serving in this capacity, Hazen worked with various tribes in Oklahoma, including the Comanches and the Creeks. After publicly criticizing the role of the U.S. military in the Indian Wars, Hazen was posted to Fort Buford in Dakota Territory, where he stayed off and on from 1875 through 1880. For more information on William Hazen see Great Plains Command: William B. Hazen in the Frontier West by Marvin E. Kroeker, 1976, Norman: University of Oklahoma Press.
Local Numbers:
NAA MS 154064 B
Local Note:
Original identification of these books as Sioux has been changed as the style of dress, body decoration, and hair are not consistent with that tribe. They are consistent with an identification as Arikara made by Candace Greene in 2004. During the 1870s many Arikara men enlisted as scouts with the US Army and a number were posted at Fort Buford during the time that the collector was there. Both books contain pictures of friendly encounters with Army officers, and one (08510521) depicts an Indian scout in uniform.
Place:
United States Dakota Territory Fort Buford.
United States South Dakota Fort Buford
Album Information:
MS 154064B 000
Provenance:
Hazen, Mildred McLean
Genre/Form:
Ledger drawings
Citation:
Manuscript 154064B, National Anthropological Archives, Smithsonian Institution
Identifier:
NAA.MS154064B
See more items in:
Book of Arikara drawings by anonymous artist
Archival Repository:
National Anthropological Archives
EDAN-URL:
ead_collection:sova-naa-ms154064b
Online Media:

Book of Arikara drawings by anonymous artist

Collector:
Hazen, William Babcock, 1830-1887  Search this
Extent:
36 Drawings (19 leaves, graphite, colored pencil, and crayon, mounted on paper, 12 x 20 cm.)
Culture:
Arikara Indians  Search this
Indians of North America -- Great Plains  Search this
Type:
Collection descriptions
Archival materials
Drawings
Ledger drawings
Date:
ca. 1875
Scope and Contents:
Bound volume of drawings containing pictures of individual men and animals, and scenes of warfare and ceremony. One of two similar handbound volumes received as part of the Hazen collection (see also MS154064B).
Biographical / Historical:
William Babcock Hazen (1830-1887) was born in Vermont and spent his boyhood in Ohio. In 1855, he graduated from the U.S. Military Academy ranked Twenty-eight in his class. Prior to the Civil War, Hazen served with the Fourth and Eighth Infantry regiments, earning distinctions in the field while fighting against Indians in Oregon and southwestern Texas. Hazen went on to serve in the Civil War, where he fought in the Battles of Shiloh and Bentonville. After the war, he served as Inspector General of the Department of the Platte and did a tour at Fort Leavenworth, Kansas. In 1869, he was stationed at Fort Sill, Oklahoma and later at Fort Smith, Arkansas, becoming Superintendent of Indian Affairs in 1870. While serving in this capacity, Hazen worked with various tribes in Oklahoma, including the Comanches and the Creeks. After publicly criticizing the role of the U.S. military in the Indian Wars, Hazen was posted to Fort Buford in Dakota Territory, where he stayed off and on from 1875 through 1880. For more information on William Hazen see Great Plains Command: William B. Hazen in the Frontier West by Marvin E. Kroeker, 1976, Norman: University of Oklahoma Press.
Local Numbers:
NAA MS 154064 A

USNM ACC 25748
Local Note:
Original identification of these books as Sioux has been changed as the style of dress, body decoration, and hair are not consistent with that tribe. They are consistent with an identification as Arikara made by Candace Greene in 2004. During the 1870s many Arikara men enlisted as scouts with the US Army and a number were posted at Fort Buford during the time that the collector was there. Both books contain pictures of friendly encounters with Army officers, and one (08510521) depicts an Indian scout in uniform.
Place:
United States Dakota Territory Fort Buford.
United States South Dakota Fort Buford
Album Information:
MS 154064A 000
Provenance:
Hazen, Mildred McLean
Genre/Form:
Ledger drawings
Citation:
Manuscript 154064A, National Anthropological Archives, Smithsonian Institution
Identifier:
NAA.MS154064A
See more items in:
Book of Arikara drawings by anonymous artist
Archival Repository:
National Anthropological Archives
EDAN-URL:
ead_collection:sova-naa-ms154064a
Online Media:

Book of drawings by anonymous Cheyenne prisoner at Fort Marion

Collector:
Hazen, William Babcock, 1830-1887  Search this
Creator:
Fort Marion artists  Search this
Extent:
1 Item (disbound volume of 14 drawings (8 leaves, colored pencil, ink, graphite, and crayon, 18 x 21 cm.)
Culture:
Cheyenne Indians  Search this
Indians of North America -- Great Plains  Search this
Type:
Collection descriptions
Archival materials
Ledger drawings
Date:
ca. 1875-1878
Scope and Contents:
Bound book of unruled paper, now disbound and laminated. Includes scenes of hunting, ceremonies and daily Indian camp life. The manuscript now contains 14 drawings and the original volume cover. Original sequence of pictures not recorded. Identified as by a Cheyenne prisoner held at Ft. Marion, Florida (1875-78) on the basis of style and content.
Biographical / Historical:
William Babcock Hazen (1830-1887) was born in Vermont and spent his boyhood in Ohio. In 1855, he graduated from the U.S. Military Academy ranked Twenty-eight in his class. Prior to the Civil War, Hazen served with the Fourth and Eighth Infantry regiments, earning distinctions in the field while fighting against Indians in Oregon and southwestern Texas. Hazen went on to serve in the Civil War, where he fought in the Battles of Shiloh and Bentonville. After the war, he served as Inspector General of the Department of the Platte and did a tour at Fort Leavenworth, Kansas. In 1869, he was stationed at Fort Sill, Oklahoma and later at Fort Smith, Arkansas, becoming Superintendent of Indian Affairs in 1870. While serving in this capacity, Hazen worked with various tribes in Oklahoma, including the Comanches and the Creeks. After publicly criticizing the role of the U.S. military in the Indian Wars, Hazen was posted to Fort Buford in Dakota Territory, where he stayed off and on from 1875 through 1880. For more information on William Hazen see Great Plains Command: William B. Hazen in the Frontier West by Marvin E. Kroeker, 1976, Norman: University of Oklahoma Press.
Fort Marion, also known as Castillo de San Marco, is a stone fortress in St. Augustine, Florida. Between 1875 and 1878, seventy-two prisoners from the southern plains were incarcerated in the fort. Captain Richard Pratt supervised the prisoners during their incarceration at Fort Marion. The prisoners consisted of 27 Kiowas, 33 Cheyennes, 9 Comanches, 2 Arapahos, and a single Caddo. They were accused of participating in the recent Red River War, earlier hostilities, or both. For further information on Fort Marion see Karen Daniels Petersen, Plains Indian Art from Fort Marion, University of Oklahoma Press, 1971 and Richard Pratt, Battlefield and Classroom, ed. by R. M. Utley, Yale University Press, 1964.
Local Numbers:
NAA MS 154064C
Local Note:
Believed to be "Sioux" by Mrs. Hazen, but re-catalogued Cheyenne on authority of Mrs. Karen Peterson (see USNM catalog card) and R. DeMallie, Guide to Siouan Manuscripts (1969). Per Father Peter Powell (October 1971) the drawings are Cheyenne, probably by Cohoe and certainly by a Ft Marion prisoner. The Sun Dance scene was verified as Cheyenne by William Fletcher and Gordon Yellowman, Cheyenne Sun Dance priests, in 2000.
Place:
United States Florida Fort Marion.
Album Information:
NAA MS 154064C 000
Provenance:
Hazen, Mildred Mc Lean.
Topic:
Works of art  Search this
Genre/Form:
Ledger drawings
Citation:
Manuscript 154064C, National Anthropological Archives, Smithsonian Institution
Identifier:
NAA.MS154064C
See more items in:
Book of drawings by anonymous Cheyenne prisoner at Fort Marion
Archival Repository:
National Anthropological Archives
EDAN-URL:
ead_collection:sova-naa-ms154064c
Online Media:

Edwin and Wilfred Whitefield papers

Creator:
Whitefield, Edwin, 1816-1892  Search this
Whitefield, Wilfred, 1839-1926  Search this
Extent:
0.5 Linear feet ((on 1 microfilm reel))
Type:
Collection descriptions
Archival materials
Drawings
Place:
Minnesota -- Description and Travel
Minnesota -- History
Date:
1854-1918
Scope and Contents:
Letters (1856-1918), diaries (1863-1866), writings (1856-1863), printed material (1854-1857), and photographs document the activities of Edwin Whitefield and his son Wilfred and early settlement in Minnesota.
Edwin Whitefield papers consist of 2 of his business cards, a list of books and prints by Whitefield, 2 clippings "The View of Paris" (1854?) and "Minnesota Going East" (1856), a real estate advertisement for Whitefield's Minnesota Land Agency displaying a reproduction of Whitefield's drawing of Minnehaha Falls (1857), a letter of introduction written by James W. Taylor to William T. Bascom on Whitefield's behalf (1857), a letter illustrated with hand-drawn maps of a Minnesota townsite (1858?), and a letter written by Whitefield to his son Wilfred (1871). Writings consist of an 3 essays "Kandiyohi", "A Sketch of Minnesota" and "Minnesota" describing his travels as a member of the Whitefield exploration party (1856-1858).
Wilfred Whitefield papers include 17 typescripts of his letters to Louisa describing experiences as a soldier (1863), 15 letters (1895-1917) concerning his sketches from the Henry H. Sibley Expedition against the Sioux in 1863, a letter about his father's watercolors (1918), a letter supporting a pension application for a soldier from the Minnesota State Militia (1918), an essay "A Trip to the Sauk Valley" (1857?), an account of the Battle of Big Mound (1863), and minutes of a war meeting held at Sauk Center, Minnesota (1864). Diary fragments describe daily events in Kandotta, Minnesota (1859) and events during the Sibley Expedition (1863). A diary (1863-1866) contains pencil sketches and notes and is accompanied by a transcript and photographs of selected sketches.
Biographical / Historical:
Edwin Whitefield was born in England in 1816, immigrating to the United States ca. 1840. Between 1840 and 1855, he studied and taught drawing in New York and New England. In the latter 1850s, he became a real estate speculator in the Minnesota territory and became involved in land and and townsite promotion in what is now Kandiyohi County and the Sauk River Valley, Minn. Between 1860 and 1864 he lived in Chicago, but spent his final years in Massachusetts until his death in 1892. Edwin's son Wilfred Whitefield, also an artist, was born in 1839. He traveled to Minnesota with his father in 1856 and accompanied Henry H. Sibley's expedition against the Dakota (Sioux) Indians in 1863. He died in Sauk Center, Minn. in 1926.
Provenance:
The microfilm was purchased from the Minnesota Historical Society.
Restrictions:
The Archives of American art does not own the original papers. Use is limited to the microfilm copy.
Rights:
Authorization to publish, quote or reproduce must be obtained from the Division of Library and Archives, Minnesota Historical Society.
Occupation:
Real estate agents  Search this
Draftsmen (artists)  Search this
Topic:
Dakota Indians -- Wars, 1862-1865  Search this
Genre/Form:
Drawings
Identifier:
AAA.whitedwi
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-whitedwi

Carl Wimar papers

Creator:
Wimar, Carl, 1828-1862  Search this
Names:
Cole, Philip C., 1890-1940  Search this
Extent:
8 Items ((on partial microfilm reel))
Type:
Collection descriptions
Archival materials
Date:
1857-1859
Scope and Contents:
8 letters from Wimar to an unknown person, written from St. Louis, Sioux City, and Quincy, Illinois.
Biographical / Historical:
Artist.
Provenance:
Microfilmed 1984 along with other selected art related papers from the Gilcrease Institute.
Restrictions:
The Archives of American art does not own the original papers. Use is limited to the microfilm copy.
Topic:
Art, American  Search this
Identifier:
AAA.wimacarl
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-wimacarl

John Brantley Wilder papers

Creator:
Wilder, John Brantley  Search this
Names:
Sioux Nation  Search this
United States. Works Progress Administration  Search this
Extent:
1.5 Linear feet
Type:
Collection descriptions
Archival materials
Photographs
Slides (photographs)
Scrapbooks
Sketches
Date:
1937-circa 1979
Summary:
The papers of painter, journalist, and civil rights activist John Brantley Wilder measure 1.5 linear feet and date from 1937 to circa 1979. The papers include correspondence; clippings; invoices; photographs; reproductions of some of Wilder's pen and ink sketches; as well as a scrapbook, which includes clippings, photographs, and printed material. Also included in the collection is a diorama representing a Sioux family.
Scope and Contents:
The papers of painter, journalist, and civil rights activist John Brantley Wilder measure 1.5 linear feet and date from 1937 to circa 1979. The papers include correspondence; invoices for paintings and materials; clippings of Wilder's articles and sketches that appeared in newspapers; a scrapbook of clippings, photographs, and printed materials; photographs and slides, primarily of artwork; and reproductions of Wilder's pen and ink sketches for the Philadelphia Tribune. The collection also includes a diorama representing a Sioux family. This is one of eighteen "Miniature Indian Dioramas" produced for the Works Progress Administration's Pennsylvania Museum Extension Project.
Arrangement:
Due to the small size of this collection, the papers are arranged as one series.

Series 1: John Brantley Wilder papers, 1937-circa 1979 (Boxes 1-2; 1.5 linear feet, OV 3)
Biographical / Historical:
John Brantley Wilder (1909?-1990) was a painter, journalist, and civil rights activist. He worked for the Federal Art Project of the Works Progress Administration (later the Work Projects Administration, WPA) through the early 1940s and worked for the Philadelphia Tribune in a variety of capacities from the 1960s to the 1970s, including producing pen and ink sketches for Negro History Week, circa 1961. In addition to his art and journalism work, in the late 1940s Wilder led a campaign urging Hollywood to expand the portrayal of African Americans in film beyond maids and servants.
Provenance:
The papers were donated by John Brantley Wilder in 1979.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center.
Occupation:
Painters -- Pennsylvania -- Philadelphia  Search this
Journalists -- Pennsylvania -- Philadelphia  Search this
Civil rights workers -- Pennsylvania -- Philadelphia  Search this
Topic:
African American artists  Search this
Genre/Form:
Photographs
Slides (photographs)
Scrapbooks
Sketches
Citation:
John Brantley Wilder papers, 1937-circa 1979. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.wildjohb
See more items in:
John Brantley Wilder papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-wildjohb

Esther Baldwin Williams and Esther Williams papers

Creator:
Williams, Esther Baldwin, 1867-1964  Search this
Names:
Grace Horne Galleries  Search this
Kraushaar Galleries  Search this
Eilshemius, Louis M. (Louis Michel), 1864-1941  Search this
Finck, Furman J., 1900-  Search this
Kroll, Leon, 1884-1974  Search this
Prendergast, Charles, 1863-1948  Search this
Prendergast, Maurice Brazil, 1858-1924  Search this
Williams, Esther, 1907-1969  Search this
Williams, Nadia, 1910-  Search this
Extent:
2.1 Linear feet
Type:
Collection descriptions
Archival materials
Photographs
Diaries
Sketchbooks
Sketches
Place:
Massachusetts -- Boston -- Description and Travel
France -- Paris -- Description and Travel
Date:
1887-1984
Summary:
The papers of Boston area painters Esther Baldwin Williams and daughter Esther Williams measure 2.1 linear feet and date from 1887 to 1984. The scattered papers of both women include biographical information, personal business records, correspondence, writings and notes, two diaries, four sketchbooks, printed materials, photographs, and one photograph album.
Scope and Content Note:
The papers of Boston and New York area painters Esther Baldwin Williams and daughter Esther Williams measure 2.1 linear feet and date from 1887 to 1984. The scattered papers of both women include biographical information, personal business records, correspondence, writings and notes, two diaries, four sketchbooks, printed materials, photographs, and one photograph album.

For clarity, Esther Baldwin Williams and Esther Williams are referred to by their proper names throughout this finding aid.

Biographical information includes a membership card to the Rockport Art Association for Esther Williams and a biographical sketch of Esther Baldwin Williams

Personal business records include receipts for purchases of artwork by Esther Baldwin Williams, banking documents, exhibition entry forms and sales receipts for Esther William's works.

Correspondence includes incoming letters and drafts of outgoing letters. The majority of the correspondence is that of Esther Williams, including a considerable amount of letters to her parents. There are letters to Esther Williams from her friends Louis Eilshemius, Furman J. Finck, and Leon Kroll, and both Grace Horne Galleries and Kraushaar Galleries. Esther Baldwin Williams' correspondence includes personal letters from Maurice Prendergast.

Writings and notes include two diaries kept by Esther Baldwin Williams that date from 1892 until 1902 and cover her life in Paris and later in Boston. Some of the diary pages are illustrated with sketches. The series also includes scattered notes, including Charles Prendergast's Notes on Formula of Ebonizing Technique.

There are four sketchbooks, likely by Esther Baldwin Williams, of pencil and watercolor sketches of cats, babies and children, orchestral scenes, portraits, and architecture.

Scattered printed materials include a copy of Cezanne's Studio given to Esther Baldwin Williams by Maurice Prendergast, a copy of a family history by Nadia Williams, exhibition announcements and catalogs, clippings, and miscellany.

There is one photograph of an unidentified work of art and a circa 1900 family photo album with mostly unidentified photos of babies, children, and family members.
Arrangement:
The collection is arranged as 7 series:

Series 1: Biographical Materials, 1942-1979 (2 folders; Box 1)

Series 2: Personal Business Records, 1893-1966 (9 folders; Box 1)

Series 3: Correspondence, 1887-1961 (0.7 linear feet; Boxes 1-2)

Series 4: Writings and Notes, 1892-1947 (0.2 linear feet; Box 2)

Series 5: Sketchbooks and Sketches, circa 1900 (0.2 linear feet; Boxes 2-3)

Series 6: Printed Material, 1883-1984 (0.2 linear feet; Box 3)

Series 7: Photographs, circa 1900-circa 1920 (0.3 linear feet; Boxes 3-4)
Biographical Note:
Esther Baldwin Williams (1867-1964) and her daughter Esther Williams (1907-1969) were painters active in Boston, Paris, and New York City.

Esther Baldwin Williams was born Esther Mabel Baldwin on December 11, 1867 to a prominent Boston family of artists. She began her art education under her uncle Joseph Foxcroft Cole and worked with her cousin Adelaide Chase Cole. Adelaide and Esther shared a studio in Greenwich Village in 1888. The two cousins also traveled to Paris in 1877 and 1891 to paint. Esther Baldwin concentrated on portraiture and often painted the women in her social circle.

Esther Baldwin became engaged to Oliver Williams in 1898. They married and moved to 96 Beacon Street in Boston where they raised their children, Oliver, Thomas, and Esther. Around 1900, the Williams met Maurice and Charles Prendergast. Esther became a friend and patron of Maurice and the two shared a studio for some time and exchanged letters. Esther Baldwin continued to work in portraiture, focusing her work on her children and relatives and did not pursue a professional career. In addition to painting, Esther Baldwin and Oliver Williams inspired a passion for music in their children.

Born in 1907, Esther Williams inherited her mother's interest in the arts. Unlike her mother, she desired a professional career as a painter. She first studied at the Museum of Fine Arts School, Boston in 1925 and later went to Paris to study under Andre Lhote. Upon returning to the United States, she moved to New York City and enrolled with the Art Students League. She married Roland Joseph McKinney, director of the Baltimore Museum of Art and the Los Angeles County Museum.

Esther Williams is known for her portraits, paintings of flowers, circus and orchestra scenes, and for her impressionistic style. She was represented by Grace Horne Gallery in the 1930s and switched to Kraushaar Galleries in 1940.

Esther Baldwin Williams died in 1964. Her daughter, Esther Williams died shortly thereafter in 1969.
Related Material:
Among the holdings of the Archives of American Art are the papers of Esther William's husband Roland Joseph McKinney.
Provenance:
The Esther Baldwin Williams and Esther Williams papers were donated in two installments by Peter McKinney, step-son of Esther Williams in 1974 and by Nadia Williams, Esther Baldwin William's daughter-in-law in 1985.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Contact Reference Services for more information.
Rights:
The Esther Baldwin Williams and Esther Williams papers are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
Topic:
Painting, American  Search this
Expatriate painters -- France -- Paris  Search this
Women painters -- Massachusetts  Search this
Women painters -- New York (State) -- New York  Search this
Painting -- Technique  Search this
Art -- Study and teaching -- France -- Paris  Search this
Genre/Form:
Photographs
Diaries
Sketchbooks
Sketches
Citation:
Esther Baldwin Williams and Esther Williams papers, 1887-1984. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.willesth
See more items in:
Esther Baldwin Williams and Esther Williams papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-willesth
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Francis Davis Millet and Millet family papers

Creator:
Millet, Francis Davis, 1846-1912  Search this
Names:
Titanic (Steamship)  Search this
Abbey, Edwin Austin, 1852-1911  Search this
Booth, Hilda Millet  Search this
James, Henry, 1843-1916  Search this
Millet, John A. P. (John Alfred Parsons), 1888-1976  Search this
Sargent, John Singer, 1856-1925  Search this
Sharpey-Schafer, Joyce A.  Search this
Extent:
3.3 Linear feet
Type:
Collection descriptions
Archival materials
Photographs
Diaries
Sketchbooks
Travel diaries
Date:
1858-1984
bulk 1858-1955
Summary:
The Francis Davis Millet and Millet family papers measure 3.3 linear feet and are dated 1858-1984, with a few scattered early eighteenth-century items, such as legal documents and printed matter. The bulk of the materials dates from 1858 to 1955. Found are biographical materials, diaries/journals, family letters, notes and writings, art work, printed matter, miscellaneous records, and photographs documenting Millet's wide-ranging artistic and writing career and personal life, including his death aboard the Titanic. Also of interest are approximately twenty ink caricatures attributed to John Singer Sargent.
Scope and Content Note:
The Francis Davis Millet and Millet family papers measure 3.3 linear feet and are dated 1858-1984, with a few scattered early eighteenth-century items, such as legal documents and printed matter. The bulk of the material dates from 1858 to 1955. Found are biographical materials, diaries/journals, family letters, notes and writings, art work, printed matter, miscellaneous records, and photographs documenting Millet's wide-ranging artistic and writing career and personal life, including his death aboard the Titanic. Also of interest are approximately twenty ink caricatures attributed to John Singer Sargent.

Biographical material consists of biographical and genealogical notes; also, memorial resolutions, invitations, and programs with several related items tipped in. Diaries/journals for the period 1858-1911 (16 vols., plus excerpts and transcripts) record Civil War experiences, the Russo-Turkish War, travels throughout Europe, to the northwest United States and Alaska, the Orient, and Panama.

Letters from F. D. Millet to his family date from his years at Harvard, art training in Antwerp, residence in Italy, and service as a correspondent during the Russo-Turkish War. Millet's letters include a few received from friends and associates, original letters sent by Millet to others, along with typescript copies of incoming letters. Also included is a file of letters addressed to Millet and others concerning the purchase and restoration of the Grange, his Broadway studio. There are four letters from Millet to his girlfriend Velma Marie Morse and scattered letters to Velma's father, A.P. Morse, and Fred Chapman. Photocopies of letters from sister Kathleen Millet to her friend Margherita describe her brother's adventures during the Russo-Turkish War, and include an account of his wedding. His sister Lucia Millet's letters to her family were written while she was in England living as a member of her brother's household, and are rich with details of Frank's daily life, work, travels, friends, and the American colony in Broadway. The letters of Lily Millet consist mainly of condolence messages sent upon the death of her husband, but also include letters from Samuel L. Clemens, Henry James, Ellen Terry [Carew], Charles Dudly Warner, her children, and others.

Included in the collection are Millet's extensive research notes about costumes and artifacts of various historical periods and locations that served as reference for details in his murals. Also included are his notebooks about Italian art, Bulgarian history and costume, and the Philippines. Writings by Millet consist of articles, short stories, lectures and speeches. Writings about him include texts by various relatives (all but one are unpublished). The most extensive written piece is by niece Hilda Millet Booth and son John [Albert] Parsons Millet, and is accompanied by early drafts, notes, and related correspondence.

Art work by Millet includes twelve volumes of sketchbooks dating from his student days in Antwerp through 1896, along with loose sketches, drawings, and two watercolors. Most were executed while traveling, and include landscapes, building, and local peoples. Works by other artists include 20 caricatures drawn in ink, attributed to John Singer Sargent.

Among the printed matter are newspaper articles by F. D. Millet, along with clippings about or mentioning him, reproductions, exhibition catalogs and announcements. Of interest are Vienna Exposition memorabilia, and a full length biography, Soldier of Fortune: F. D. Millet, 1846-1912 by granddaughter Joyce A. Sharpey-Schafer. Miscellaneous records include drawings sketches, notes, printed matter, and photographs relating to the Abbot's Grange in Broadway that served as Millet's studio.

Photographs of people include F. D. Millet, his father Asa Millet with granddaughter Kate, and Mary Anderson. Photographs of works of art are by Millet and other artists.
Arrangement:
The collection is arranged into eight series:

Series 1: Biographical material, circa 1864-1934 (Box 1, OV 5; 6 folders; Reel 5903)

Series 2: Diaries/Journals of Francis Davis Millet, 1858-1911 (Box 1; 0.5 linear ft.; Reels 5903-5904)

Series 3: Letters, 1867-1915, undated (Boxes 1-2; 0.5 linear ft.; Reel 5904)

Series 4: Notes and Writings, 1891-1970, undated (Box 3; 1.0 linear ft.; Reels 5904-5906)

Series 5: Art Work, 1872-1908, undated (Box 4; 0.5 linear ft.; Reels 5906-5907)

Series 6: Printed Matter, 1764-1984, undated (Box 4; 0.25 linear ft.; Reel 5907 and unfilmed)

Series 7: Miscellaneous Records, 1724-1897, undated(Box 4; 7 folders; Reel 5907)

Series 8: Photographs, circa 1883-circa 1910, undated (Box 4; 7 folders; Reel 5907)
Biographical Note:
During his lifetime, Francis Davis Millet (1846-1912), always known as Frank, was a prominent artist who was well known for murals that contained exactingly accurate historical details. His broad-ranging career included work with worlds' fairs in Vienna, Chicago, Paris, and Tokyo as a juror, administrator, mural painter/decorator, or advisor. In addition, Frank Millet was a newspaper writer who published short stories and enjoyed adventures as a war correspondent during the Russo-Turkish War and in the Philippines during the Spanish American War.

Millet was among the founders of the School of the Museum of Fine Arts, Boston, and was influential in the early days of the American Federation of Arts. Millet was involved with the American Academy in Rome from its inception and served as Secretary from 1904-1911. In 1911, Millet went to Rome as Chief Administrator of the newly combined Schools of Fine Arts and Classical Studies. He died aboard the Titanic while traveling to New York City on Academy business.

1846 -- born in Mattapoisett, Mass.

1864 -- enlisted as a private in the 60th Massachusetts Militia during Civil War, serving as a drummer; also acted as a surgical assistant to his physician father in the army of the Potomac

1869 -- graduated from Harvard University, where he studied modern languages and literature

1869-1870 -- learned lithography while working on the Boston Advertiser

1871-1872 -- studied at the Royal Academy of Fine Arts, Antwerp, where he won the silver medal (1871) and was awarded the gold medal (1872); traveled through Germany with 3 other American Students

1873 -- Secretary to Charles Francis Adams, Jr., Massachusetts' commissioner to the Vienna Exposition member of the Vienna Exposition; jury correspondent for the New York Herald and the New York Tribune; traveled through southern Europe and Turkey

1873-1874 -- traveled in Greece, Italy, Switzerland, and Germany

1875 -- toured Italy; returned to Boston and set up a studio on Tremont Street

1876 -- exhibited The Bay of Naples at the Philadelphia Centennial Exposition, where he represented the Boston Advertiser and was a correspondent for the American Architect and Building News; assisted John La Farge in decorating Trinity Church, Boston; founded the School of the Boston Museum of Fine Arts with La Farge and W. M. Hunt

1877 -- exhibited portraits of Charles Francis Adams, Jr. and Samuel L. Clements at the National Academy of Design

1877-1878 -- special war correspondent to the New York Herald and Times of London, and special artist to the London Graphic, reporting on the Russo-Turkish War; Russia awarded him the Cross of St. Stanislaus and the Cross of St. Anne for military advice and exceptional service (informing Russian officers of a ford that would allow them to cross into Turkey more easily) and the Iron Cross of Romania

1878 -- returned to Paris to paint; served on fine arts jury at the Exposition Universelle in Paris; exhibited in the Paris Salon and at the British Royal Academy

1879 -- married Elizabeth (Lily) Greeley Merrill in Paris; returned to the United States, settling in East Bridgewater, Mass., where he set up a studio that included an accurate reconstruction of a colonial era kitchen

1880 -- lectured on costumes at the School of the Museum of Fine Arts, Boston; birth of daughter, Katharine Field; became a member of the Society of American Artists; worked with Louis Comfort Tiffany on the decoration of the Seventh Regiment Armory, New York City

1881 -- shared studio in New York with Edwin Austin Abbey; birth of son, Edwin Abbey; commissioned by the Class of 1861 to design two windows for Harvard University Memorial Hall

1882 -- traveled in northern German and Scandinavia with Edwin Austin Abbey and R. Swain Gifford; elected an Associate member of the National Academy of Design

1883 -- traveled to England

1884 -- birth of Laurance, in London; settled with family in Broadway, Worcestershire (spending the winters of the next decade in New York); along with Edwin Austen Abbey, John Singer Sargent, and Alfred Parsons, he established a colony that at various times included Edwin Howland Blashfield, Lawrence Alma-Tadema, and Henry James, along with various other writers, actors, musicians

1885 -- traveled with Charles Francis Adams, Jr. throughout the U.S. and its territories, and to Mexico; elected a National Academician, National Academy of Design

1886 -- purchased "Russell House," that became his permanent home in Broadway, Worcestershire; and moved studio to "Abbot's Grange"

1887 -- translated "Sebastopol" by Tolstoy from French to English for publication

1888 -- birth of John Alfred Parsons

1889 -- awarded silver medal, Salon des Artistes, Paris

1890 -- published a collection of short stories, A Capillary Crime and Other Tales; purchased the "Abbot's Grange" that had been serving as his studio for the previous four years

1891 -- elected vice-president of National Academy of Design; for Harper's Magazine traveled with Alfred Parsons and Poultney Bigelow on a trip down the Danube in one-man canoes, from the Black Forest to the Black Sea (their illustrated narrative was published in the magazine, Feb.-May 1892; the following year, it appeared in book form as From the Black Forest to the Black Sea)

1892-1893 -- director of decorations for the White City of the World's Columbian Exposition, acting as a close advisor to the fair's architect Daniel Burnham; served on New York jury of the Columbian Exposition; once the Exposition opened, he served as Director of Functions and Ceremonies and also provided public relations and advertising services

1897 -- completed restoring "Abbot's Grange" to its 16th century appearance; completed lunette, Agriculture, commissioned for the Bank of Pittsburgh

1898 -- went to the Philippines to cover the Spanish American War as a special correspondent to Harper's Weekly, the London Times, and the New York Sun

1899 -- published Expedition to the Philippines, P. Bigelow, co-author

1900 -- appointed U. S. representative to the Paris Universal International Exposition where he was in charge of decoration of the Government Pavilion, and was a member of the Jury of Selection and the Fine Arts Jury; awarded Chevalier de la Legion of Hounneur by the French government in appreciation for his services to the Paris Exposition

1905 -- traveled to northwest United States, Alaska, and British Columbia; completed mural, The Treaty of the Traverse des Sioux, July 23, 1851, commissioned for the Minnesota State Capitol; became a charter member of the American Academy in Rome

1906 -- traveled to North Africa, Italy, and France

1907 -- completed mural, The Fourth Minnesota Regiment Entering Vicksburg, July 4, 1863, commissioned for the Minnesota State Capitol; completed mural, Foreman of the Grand Jury Rebuking the Chief Justice of New Jersey, 1774, commissioned for the Essex County Courthouse, Newark, New Jersey; traveled to Cuba

1908 -- completed The History of Shipping from the Earliest Recorded Use of Boats until the Present Time commissioned to decorate the ceiling of the Custom House, Baltimore; traveled to Japan as Special Commissioner to the proposed World's Fair in Tokyo [the fair was never held]; awarded "First Class Order of the Sacred Treasure" by the Japanese government; additional travel to Germany, Italy, Russia, Turkey, and China; elected Secretary of the American Academy in Rome; elected a member of the National Institute of Arts and Letters

1909 -- completed frieze of 13 panels, The History of the Settlement of Ohio, and several portraits commissioned by the Cleveland Trust Company; also responsible for the general color scheme of the building; completed frieze of 35 panels, The History of Mail Delivery, commissioned for the Post Office in the Federal Building, Cleveland; also responsible for determining the general color

1910 -- influential in the founding of the American Federation of Arts; served as its Secretary until his death; appointed to Federal Commission of Fine Arts; elected a member of the American Academy of Arts and Letters

1911 -- completed lunettes, The Repulse of the Dutch, September 3, 1609, and The Purchase of the Land, 1658, and 12 small historical panels, commissioned for the Hudson County Courthouse, Jersey City, New Jersey; also responsible for the general color scheme of the building; traveled to Panama with Lily and Mr. and Mrs. C. F. Adams, Jr.; elected Vice Chairman of the Fine Arts Committee, American Academy in Rome; moved to Rome to serve as Chief Administrator of the consolidated schools of the American Academy in Rome and the American School of Classical Studies in Rome following the death of Charles F. McKim (Millet was a charter member and had served as Secretary since its inception)

1912 -- died aboard the S. S. Titanic, while heading to New York City on American Academy in Rome business
Related Material:
Found within the holdings of the Archives of American Art are several collections related to Francis Davis Millet, including five letters from Millet to Miss Ward and "Ticknor" and a collection of Francis Millet Rogers research material regarding Francis Davis Millet. The Philip Martiny papers contains two group photographs that include F. D. Millet. A letter describing a visit to Millet's studio is among the William Cushing Loring Papers. The American Academy in Rome records include documents created by F. D. Millet in his capacity as Secretary from 1904-1907 and as Chief Administrator in Rome, 1911-1912.
Separated Material:
The Archives of American Art also holds material lent for microfilming. Charles S. Millet loaned photographs, biographical information, and miscellaneous items in 1974 (reel 849). In 1976, he loaned an album of photographs of F. D. Millet's murals in the Baltimore Customs House, with related printed matter (reel 1080). Lent materials were returned to Charles S. Millet.
Provenance:
The Francis Davis Millet and Millet family papers were received between 1974 and 1996 from several family members. Most were gifts from Dr. John A. P. Millet, son of F. D. Millet, in 1974 and 1976. In 1974, Charles S. Millet, grandnephew of F. D. Millet, donated a copy of his brief biography he wrote on F. D. Millet and lent materials for microfilming. Also in 1974, Mrs. William King, granddaughter of F. D. Millet gave photographs of F. D. Millet and his art work, along with various printed matter. Additional letters to F. D. Millet were given by grandson, Frank D. Millet, in 1977.

In 1987, granddaughter Joyce A. Sharpey-Schafer donated documents she had used while writing a biography of Millet. In 1996, David M. Emerson, grandnephew of F. D. Millet, donated loose sketches and miscellaneous printed matter.

In 2003, additional letters were donated by grandsons Mr. Harry Flynn and Frank D. Millet, and again in 2006 by Frank D. Millet.
Restrictions:
Use of originals requires an appointment.
Rights:
The Francis Davis Millet and Millet family papers are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
Occupation:
Painters  Search this
Topic:
Mural painting and decoration  Search this
Works of art  Search this
Art -- Study and teaching  Search this
Russo-Turkish War, 1877-1878  Search this
Artists' studios  Search this
United States -- History -- Civil War, 1861-1865  Search this
Painting, American  Search this
Genre/Form:
Photographs
Diaries
Sketchbooks
Travel diaries
Citation:
Francis Davis Millet and Millet family papers, 1858-1984 (bulk 1858-1955). Archives of American Art, Smithsonian Institution.
Identifier:
AAA.millfran
See more items in:
Francis Davis Millet and Millet family papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-millfran
Online Media:

Robe

Culture/People:
Oglala Lakota (Oglala Sioux)  Search this
Artist/Maker:
Chief Young-Man-Afraid-of-His-Horses (Thašúŋke Khokíphapi/Tasunka Kokipapi), Oglala Lakota (Oglala Sioux), ca. 1836-1893  Search this
Previous owner:
Chief Young-Man-Afraid-of-His-Horses (Thašúŋke Khokíphapi/Tasunka Kokipapi), Oglala Lakota (Oglala Sioux), ca. 1836-1893  Search this
Collector:
John W. Alder, Non-Indian, 1844-1919  Search this
Possible seller:
Eugene C. Alder (Eugene Charles Alder), Non-Indian, 1876-1955  Search this
Possible owner:
Eugene C. Alder (Eugene Charles Alder), Non-Indian, 1876-1955  Search this
Object Name:
Robe
Media/Materials:
Buffalo hide/skin, paint
Techniques:
Painted
Dimensions:
225 x 190 cm
Object Type:
Clothing/Garments: Outerwear (flat)
Place:
Pine Ridge, Pine Ridge Reservation; Oglala Lakota County; South Dakota; USA
Date created:
1870-1880
Catalog Number:
522
Barcode:
000522.000
See related items:
Oglala Lakota (Oglala Sioux)
Clothing/Garments: Outerwear (flat)
Data Source:
National Museum of the American Indian
EDAN-URL:
edanmdm:NMAI_675
Online Media:

Cane/Walking stick

Culture/People:
Sioux  Search this
Seller:
Susan Polk Jones (Susan Rayner Polk/Mrs. Joseph L. Jones), Non-Indian, 1842-1921  Search this
Previous owner:
Susan Polk Jones (Susan Rayner Polk/Mrs. Joseph L. Jones), Non-Indian, 1842-1921  Search this
Dr. Joseph L. Jones, Non-Indian, 1833-1896  Search this
Possible owner:
Chief Sitting Bull (Tatanka Iyotanka/Tatanka Yotanka), Hunkpapa Lakota (Hunkpapa Sioux), ca. 1831-1890  Search this
Object Name:
Cane/Walking stick
Media/Materials:
Wood
Techniques:
Carved
Dimensions:
91.4 cm
Object Type:
Personal items
Place:
North Dakota or South Dakota; USA (inferred)
Catalog Number:
7313
Barcode:
007313.000
See related items:
Sioux
Personal items
Data Source:
National Museum of the American Indian
EDAN-URL:
edanmdm:NMAI_7656
Online Media:

Pipe bowl and pipestem

Culture/People:
Sioux  Search this
Seller:
Susan Polk Jones (Susan Rayner Polk/Mrs. Joseph L. Jones), Non-Indian, 1842-1921  Search this
Previous owner:
Susan Polk Jones (Susan Rayner Polk/Mrs. Joseph L. Jones), Non-Indian, 1842-1921  Search this
Dr. Joseph L. Jones, Non-Indian, 1833-1896  Search this
Object Name:
Pipe bowl and pipestem
Media/Materials:
Wood, catlinite/pipestone, brass tacks/bosses
Techniques:
Carved
Dimensions:
8.9 x 50.8 x 74.3 cm
Object Type:
Pipes and Smoking
Place:
North Dakota or South Dakota; USA (inferred)
Catalog Number:
7318
Barcode:
007318.000
See related items:
Sioux
Pipes and Smoking
Data Source:
National Museum of the American Indian
EDAN-URL:
edanmdm:NMAI_7661
Online Media:

Frank Blackwell Mayer glass negatives

Creator:
Mayer, Frank Blackwell, 1827-1899  Search this
Extent:
0.4 Linear feet
Type:
Collection descriptions
Archival materials
Date:
circa 1900
circa 1960s
Summary:
The glass plate negatives of Maryland painter Frank Blackwell Mayer measure 0.4 linear feet. The collection includes twelve glass plate negatives of artwork by Mayer and a studio interior, circa 1900, and thirteen copy prints, circa 1960s, of photographs of artwork by Mayer.
Scope and Contents:
The glass plate negatives of Maryland painter Frank Blackwell Mayer measure 0.4 linear feet. The collection includes twelve glass plate negatives of artwork by Mayer and a studio interior, circa 1900, and thirteen copy prints, circa 1960s, of photographs of artwork by Mayer.
Arrangement:
The collection is arranged as one series.
Biographical / Historical:
Painter Frank Blackwell Mayer (1827-1899), was known for his genre scenes and colonial themes, and was active in Baltimore and Annapolis, Maryland.

In 1851 Mayer traveled to Minnesota Territory and observed the signing of the Treaty of Traverse des Sioux, which he painted in one of his most famous works of art in 1886. Mayer lived and studied in Paris during the Civil War and settled in Annapolis on returning to the United States. He established the Artists Association of Maryland and remained active in local art and community improvement associations throughout his career.
Provenance:
The collection was donated in 1971 by A. Hyatt Mayor.
Restrictions:
This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Occupation:
Painters -- Maryland -- Baltimore  Search this
Citation:
Frank Blackwell Mayer glass negatives, circa 1900, circa 1960s. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.mayefran
See more items in:
Frank Blackwell Mayer glass negatives
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-mayefran

La Vern Frank-Rush papers

Creator:
Frank-Rush, La Vern, 1918-2011  Search this
Names:
United States. Work Projects Administration  Search this
United States. Works Progress Administration  Search this
Extent:
0.2 Linear feet
0.277 Gigabytes
Type:
Collection descriptions
Archival materials
Gigabytes
Memoirs
Photographs
Cd-roms
Scrapbooks
Date:
1936-2007
bulk 1936-1942
Summary:
The La Vern Frank-Rush papers regarding the WPA Art Center in Sioux City, Iowa, measure 0.2 linear feet and 0.277 GB and date from 1936 to 2007 with the bulk dated 1936 to 1942. Two scrapbooks compiled by Frank-Rush between 1936 and 1942 contain introductory and concluding statements added by her in 2006. A memoir, circa 2007, documents activities, achievements, staff, and participants of the WPA Art Center in Sioux City, Iowa. Also included are digital images of the scrapbooks and memoir, along with seven images of Frank-Rush's artwork.
Scope and Content Note:
The La Vern Frank-Rush papers regarding the WPA Art Center in Sioux City, Iowa, measure 0.2 linear feet and 0.277 GB and date from 1936 to 2007 with the bulk dated 1936 to 1942. Two scrapbooks compiled by Frank-Rush between 1936 and 1942 contain introductory and concluding statements added by her in 2006. A memoir, circa 2007, documents activities, achievements, staff, and participants of the WPA Art Center in Sioux City, Iowa. Also included are digital images of the scrapbooks and memoir.

Two scrapbooks document the Sioux City Art Center's founding by the WPA in 1938, its activities, and programs. The Center, which still exists today, is one of four WPA art centers in Iowa to survive without interruption. Photographs record exhibits, staff members, students, and work produced at the Art Center and also depict Frank-Rush's personal life.

Frank-Rush's memoir and scrapbooks provide insight into how the WPA Art Center impacted her as well as the larger community. In her own words, the collection "reveals the personality of the Sioux City Art Center." A small selection of her artwork, digitized, lends a view into the late 1930s.
Arrangement:
The collection is organized into 3 series:

Series 1: Scrapbooks, 1936-2007 (Box 1; 0.1 linear ft.)

Series 2: Memoir, circa 2007 (Box 1; 1 folder)

Series 3: Digitized Collection Items (ER01; 0.277 GB)
Biographical / Historical:
LaVern Frank-Rush (b. 1918) worked at the WPA Art Center in Sioux City, Iowa, from its opening in 1938 until 1941, first as a volunter and then as an employee. During this time, she compiled two scrapbooks about the Art Center; circa 2007, she wrote a memoir that focused on the Art Center.

After finishing junior high school, La Vern Frank-Rush won a contest that enabled her to attend free summer art classes at the Sioux City Public Library. The instructor, Roy Langley, had a lasting influence on the aspiring artist.

The WPA Art Center in Sioux City, Iowa, offered free exhibits, lectures, and art classes to a community which otherwise would not have had such opportunities. The Art Center organized plays, marionette shows, and exhibitions. It also provided classed in ceramics, puppetry, and watercolor painting. The weekly schedule included 32 different offerings and hundreds of children and adults were enrolled. Performances were always well received and record crowds gathered to view the exhibits.

Soon after it opened in 1938, Frank-Rush started working as a volunteer at the WPA Art Center and began compiling a scrapbook about Art Center activities. She studied painting and printmaking withthe various artists who taught there. After she became an employee, Frank-Rush served as an instructor, art teacher, and librarian until 1942.

LaVern Frank and George Rush, who also worked at the Art Center, married in 1943. Three days after their marriage, Rush was assigned to the Engineer Corps at Fort Belvoir, Virginia. Frank-Rush served in the Civil Service War Department in Washington, DC, but soon was able to transfer to Fort Belvoir. In 1953 the couple moved to Lincoln, Nebraska, where she taught art at the University of Nebraska from 1956 through 1966. Frank-Rush, who was certified to teach care and raising of houseplants, helped organize the Nebraska Herbal Society, and presented hebal and plant demonstrations at South East Community College in Lincoln. Since retiring in 1980, she has lived quietly in Oregon.
Related Material:
The Archives of American Art houses microfilm copies of selected official WPA records of interest to art historians. The following microfilm, available at AAA ofices and through interlibrary loan, contain additional documentation of the WPA Art Center in Sioux city, Iowa:

Records of the WPA, General Correspondence files include selected documents pertaining to the Federal Art Project in Iowa. (Reel DC 76, frames 317-2309)

WPA Photograph Collection contains 18 photographs of the Sioux City Art Center, classes, projects, puppet workshops, exhibitions, and marionettes. (Reel 1178, frames 0011-0044)

Iowa Community Art Centers, 1938-1939, features 13 photographs of the Sioux City Art Center. (Reel NDA 16, frames 290-317)
Provenance:
The La Vern Frank-Rush papers regarding the WPA Art Center in Sioux City, Iowa, were donated by La Vern Frank-Rush in 2007.
Restrictions:
Use of original material requires an appointment.
Rights:
The La Vern Frank-Rush papers regarding the WPA Art Center in Sioux City, Iowa, are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
Topic:
Art centers -- Iowa -- Sioux City  Search this
Genre/Form:
Memoirs
Photographs
CD-ROMs
Scrapbooks
Citation:
La Vern Frank-Rush papers regarding the WPA Art Center in Sioux City, Iowa, 1936-2007. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.franla
See more items in:
La Vern Frank-Rush papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-franla

Photographs of Iowa community art centers

Creator:
Federal Art Project (Iowa)  Search this
Extent:
20 Items ((on partial microfilm reel))
Type:
Collection descriptions
Archival materials
Date:
1938-1939
Scope and Contents:
Seven photographs of the Mason City, Iowa art center and 13 photographs of the Sioux City, Iowa art center [Microfilm title Iowa Community Art Centers].
Biographical / Historical:
Under the Art Education Division of the FAP, community art centers were established as a means of promoting the arts throughout the general population, to provide a place for artists to work and to teach classes in art to adults and children.
Other Title:
Iowa Community Art Centers [microfilm title]
Provenance:
Provenance unknown.
Restrictions:
The Archives of American art does not own the original papers. Use is limited to the microfilm copy.
Topic:
Federal aid to the arts -- Iowa -- Photographs  Search this
Federal aid to the public welfare -- Iowa -- Photographs  Search this
Art and state -- Iowa -- Photographs  Search this
Identifier:
AAA.fedeartp03
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-fedeartp03

Area X Gallery records

Creator:
Area X Gallery (New York, N.Y.)  Search this
Names:
Xuereb, Bobbie Sioux  Search this
Extent:
2.4 Linear feet
Type:
Collection descriptions
Archival materials
Photographs
Financial records
Place:
East Village (New York, N.Y.)
Date:
1977-1988
Summary:
The East Village Area X Gallery records measure 2.4 linear feet and date from 1977-1988. The collection consists primarily of artists files for fifteen artists represented by or of interest to the gallery. The files are varied but may include biographical information, correspondence, financial and inventory records, printed materials, and photographs. Gallery records include scattered financial records, publicity files, and printed materials.
Scope and Content Note:
The East Village Area X Gallery records measure 2.4 linear feet and date from 1977-1988. The collection consists primarily of artists files for fifteen artists represented by or of interest to the gallery. The files are varied but may include biographical information, correspondence, financial and inventory records, printed materials, and photographs. Gallery records include scattered financial records, publicity files, and printed materials.
Arrangement:
The collection is arranged as 4 series:

Series 1: Artists Files, 1977-1988 (Boxes 1-2; 1.5 linear feet)

Series 2: Finacial Records, 1984-1987 (Box 2; 0.5 linear feet)

Series 3: Publicity Files, 1980-1987 (Box 3; 0.3 linear feet)

Series 4: Printed Material, circa 1980-1987 (box 3; 3 folders)
Historical Note:
The Area X Gallery was founded in New York City by Bobbie Sioux Xuereb (Goldberg) in February 1984. Located at 200 E. 10th St., the gallery was part of the larger East Village art scene of the 1980s. Among the artists represented by gallery were Keith Achepohl, John Himmelfarb, Leon Johnson, Michael McCollum, and Louis Mueller. As with many of the East Village galleries, the Area X Gallery closed in 1987.
Provenance:
The records of the Area X Gallery were donated by Bobbie Sioux Xuereb, the gallery's founder and director, in 1998.
Restrictions:
Use of original papers requires an appointment.
Rights:
The Area X Gallery records are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
Topic:
Art galleries, Commercial -- East Village (New York, N.Y.)  Search this
Art galleries, Commercial -- New York (State) -- New York  Search this
Art, Modern -- 20th century -- East Village (New York, N.Y.)  Search this
Art, Modern -- 20th century -- New York (State) -- New York  Search this
Artists -- East Village (New York, N.Y.)  Search this
Genre/Form:
Photographs
Financial records
Citation:
Area X Gallery records, 1977-1988. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.areax
See more items in:
Area X Gallery records
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-areax

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